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In the wake of his father's premature death, Jose Cemi comes of age in a turn of the century Cuba described in the Washington Post as "an island paradise where magic and philosophy twist the lives of the old Cuban bourgeoisie into extravagant wonderful shapes." Copyright © Libri GmbH. All rights reserved.
Recognized as one of the most influential Latin American writers of the twentieth century, José Lezama Lima, born in Cuba in 1910, is associated with the Latin American neo-baroque and has influenced several generations of writers in and out of Cuba, including such prominent poets as Severo Sarduy and Néstor Perlongher. Lezama Lima's vision of America in a continental sense stands at the fertile confluence of indigenous, African, and European influences. A crucial experimental writer, he has been known in English chiefly for his novel Paradiso, while little of his poetry has been translated. This anthology is a comprehensive introduction to Lezama Lima's poetry. It presents for the first time in English a generous selection of his poems, as well as an interview, essays, and critical work on his poetics. Ernesto Livon-Grosman has selected elegant and precise translations by James Irby, G.J. Racz, Nathaniel Tarn, and Roberto Tejada. His insightful introduction places the poet in the wider context of Cuban and Latin American cultural history.
Cuba’s José Lezama Lima became the most controversial figure in the flowering of the Latin American novel with the 1966 publication of Paradiso. Hailed as a seminal writer of breathtaking originality by Julio Cortázar, Octavio Paz, and Mario Vargas Llosa, Lezama was also attacked by the Castro regime and others for his stylistic obscurity, erotic descriptions, and violation of literary norms. Indeed, his experimental fiction, written on the very boundaries of the novelistic genre, resists classification. José Lezama Lima’s Joyful Vision, a much-needed critical study of Paradiso, Oppiano Licario, and Lezama’s essays, is thus an exploration in reading, one that highlights and preserves the essential and persistent contradictions in Lezama’s theory and practice of literature. Gustavo Pellón focuses his study on Lezama’s search for equilibrium, clarifying such oppositions in Lezama’s writings as the mystical quest for illumination through obscurity, the calculated cultivation of naïveté, the Proust-like fascination with yet ultimate condemnation of homosexuality, and a modernist (even postmodernist) narrative style that conveys a mystical (essentially medieval) worldview. Above all, Pellón shares his wonder at Lezama who, in an age of pessimism, maintained his joyful vision of art and existence.
One of the most influential figures in Latin American literature, Cuban writer José Lezama Lima examines figures of world literature such as Stéphane Mallarmé, Paul Valéry, and Luis de Góngora. His own poetry and his essays on poetics are included at the end of the book.
With Gay Cuban Nation, Emilio Bejel looks at Cuba's markedly homoerotic culture through writings about homosexuality, placing them in the social and political contexts that led up to the Cuban Revolution. By reading against the grain of a wide variety of novels, short stories, autobiographies, newspaper articles, and films, he maps out a fascinating argument about the way in which nationalism and other institutions of power struggle for an authoritative stance on homosexual issues. Through close readings of writers such as José Martí, Ofelia Rodríguez Acosta, Carlos Montenegro, José Lezama Lima, Severo Sarduy, Achy Obejas, Sonia Rivera-Valdés, and Reinaldo Arenas, Gay Cuban Nation shows ultimately that the specter of homosexuality is always lurking in the shadows of nationalist discourse.
In Search of the Sacred Book studies the artistic incorporation of religious concepts such as prophecy, eternity, and the afterlife in the contemporary Latin American novel. It departs from sociopolitical readings by noting the continued relevance of religion in Latin American life and culture, despite modernity's powerful secularizing influence. Analyzing Jorge Luis Borges's secularized "narrative theology" in his essays and short stories, the book follows the development of the Latin American novel from the early twentieth century until today by examining the attempts of major novelists, from María Luisa Bombal, Alejo Carpentier, and Juan Rulfo, to Julio Cortázar, Gabriel García Márquez, and José Lezama Lima, to "sacralize" the novel by incorporating traits present in the sacred texts of many religions. It concludes with a view of the "desacralization" of the novel by more recent authors, from Elena Poniatowska and Fernando Vallejo to Roberto Bolaño.
Arenas's first work set in the United States breaks new ground with the story of a young Cuban refugee who becomes a doorman at a luxury apartment building. Oddly alienated from the tenants, he is seduced by their pets, who are determined to revolt against humans and human society.
This is the first monograph to consider the significance of madness and irrationality in both Spanish and Spanish American literature. It considers various definitions of ‘madness’ and explores the often contrasting responses, both positive (figural madness as stimulus for literary creativity) and negative (clinical madness representing spiritual confinement and sterility). The concept of national madness is explored with particular reference to Argentina: while, on the one hand, the country’s vast expanses have been seen as conducive to madness, the urban population of Buenos Aires, on the other, appears to be especially dependent on psychoanalytic therapy. The book considers both the work of lesser-known writers such as Nuria Amat, whose personal life is inflected by a form of literary madness, and that of larger literary figures such as José Lezama Lima, whose poetic concepts are suffused with the irrational. The conclusion draws attention to the ‘other side’ of reason as a source of possible originality in a world dominated by the tenets of logic and conventionalised thinking.
In this book, Jaime Rodríguez Matos proposes the “formless” as a point of departure in thinking through the relationship between politics and time. Thinking through both literary and political writings around the Cuban Revolution, Rodríguez Matos explores the link between abstract symbolic procedures and various political experiments that have sought to give form to a principle of sovereignty based on the category of representation. In doing so, he proposes the formless as the limit of modern and contemporary reflections on the meaning of politics while exploring the philosophical consequences of a formless concept of temporality for the critique of metaphysics. Rodríguez Matos takes the writing and thought of José Lezama Lima as the guiding thread in exploring the possibility of a politicity in which time is imagined beyond the disciplining functions it has had throughout the metaphysical tradition—a time of the absence of time, in which the absence of time no longer means eternity.
The most inclusive single-volume anthology of Latin American poetry intranslation ever produced.